When I Am Big, Level 1

I Am What I Am is an album by American country music artist George Jones released in 1980 on Epic Records label. It was rereleased on July 4, 2000 with bonus tracks on the Legacy Recordings label.

I Am Now is the album that introduced the late West Indies singer, songwriter, guitarist, and arranger Jon Lucien to American audiences. Issued by RCA in 1970, Lucien's meld of flawlessly executed jazz, pop, and theatrical song remains highly original and sophisticated. The material on I Am Now is unlike anything else in his catalog. Of the 11 songs here, only "Find Yourself a Lover" was penned by Lucien. With its swirling strings, bossa guitars, smooth soul vocals, and lithe Caribbean rhythms, the song was a precursor to the kind of genre blending that is so prevalent in the 21st century.

On December 3, 1963, at age 62, when most folks are thinking about retirement, Louis Armstrong recorded the sprightly "Hello, Dolly!," the title song for a Broadway show. Thus began a six year-long series of recordings that brought arguably most important 20th Century musician back into the limelight and, in fact, gave him his greatest recording successes ever.

Electric blues, Texas style! Inspired by the greatest players, he sounds like a Freddie King/Johnny Winter blend. If you like extended guitar soloing on a good level, and Johnny Winter-like vocals, you will love Texas Slim! Texas is a big state and Texas blues is big blues - so a name like "Texas Slim" is not to be used lightly. John Lee Hooker got away with it on King Records back in 1949 as he was a long way from Texas and probably had little to do with it. Many years ago, Johnny Winter settled instead for "Texas Guitar Slim" - but both are relevant for our man here, as the first blues he recalls hearing was by John Lee Hooker, and as for Johnny Winter, well, let's hear from Slim himself: “Johnny Winter is certainly my favorite guitarist of all time! I liked him before I realized he WAS blues.

One of the most enigmatic figures in rock history, Scott Walker was known as Scotty Engel when he cut obscure flop records in the late '50s and early '60s in the teen idol vein. He then hooked up with John Maus and Gary Leeds to form the Walker Brothers. They weren't named Walker, they weren't brothers, and they weren't English, but they nevertheless became a part of the British Invasion after moving to the U.K. in 1965. They enjoyed a couple of years of massive success there (and a couple of hits in the U.S.) in a Righteous Brothers vein. As their full-throated lead singer and principal songwriter, Walker was the dominant artistic force in the group, who split in 1967. While remaining virtually unknown in his homeland, Walker launched a hugely successful solo career in Britain with a unique blend of orchestrated, almost MOR arrangements with idiosyncratic and morose lyrics. At the height of psychedelia, Walker openly looked to crooners like Sinatra, Jack Jones, and Tony Bennett for inspiration, and to Jacques Brel for much of his material. None of those balladeers, however, would have sung about the oddball subjects – prostitutes, transvestites, suicidal brooders, plagues, and Joseph Stalin – that populated Walker's songs.